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What do Wordsworth and Coleridge have to say on lyrical diction.

What do Wordsworth and Coleridge have to say on lyrical diction.

Wordsworth maintains that the language of poetry is selection of the real language of men. Coleridge argues that everyone’s language varies according to the extent of his knowledge, the conditioning of his faculties and the depth and swiftness of his passions. Every man’s language has its individual characteristics the common parcels of the class to which he belongs and the words and expressions of universal use. He points out that the language used in the runes of Wordsworth differs greatly from the language of a common peasant. Coleridge opines that for the word real; we should substitute the word ‘ ordinary ’. He also objects to Wordsworth’s addition of the words “ in a state of excitement ”, for emotional excitement may affect in a more concentrated expression, but it can not produce a noble and richer vocabulary. also, a common uncultivated mind, overpowered by a strong passion can utter broken words or repeat the sets of words and expressions known to him formerly. It would be veritably delicate for a minstrel to make similar language fit for poetry. Wordsworth and Coleridge.

Coleridge also disagrees with Wordsworth regarding the statement that there neither is nor can be any essential difference between the language of prose and rhythmic composition ”. Coleridge asserts that there’s and there ought to be an essential difference between the languages of prose argues that of poetry. Coleridge argues that language of written prose obviously differs from that of common discussion, in the same way as reading differs from talking. Indeed though some words are common to prose and poetry, they’re else arranged in the two compositions, making the language of the two basically different. This difference arises from the fact that the poetry use cadence and cadence requires a different arrangement of words. Coleridge has formerly refocused out that meter isn’t a bare superficial decoration, but an essential organic part of a lyric. thus there must be an ‘ essential ’ difference between the language of prose and that of poetry. The use of cadence creates a different atmosphere in poetry and the conceits as well as analogies used by a minstrel are different in quality, but not art. There are passages which will out the one, but not the other. Wordsworth and Coleridge.

There will also be set up in these volumes little of what’s generally called lyrical diction; I’ve taken as important pains to avoid it as others naturally take to produce it; this I’ve done for the reason formerly contended, to bring my language near to the language of men, and further, because the pleasure which I’ve proposed to myself to conduct is of a kind veritably different from that which is supposed by numerous persons to be the proper object of poetry. Wordsworth and Coleridge.

Coleridge’s review of Wordsworth’s proposition of Poetry and lyrical Diction
The most remarkable part of Biographia Literaria lies in Coleridge’s review of Wordsworth’s proposition of poetry and lyrical Diction. While critically assaying Wordsworth’s proposition Coleridge has offered his own views on the choice of rustic, themes and characters as well as the language of poetry. Wordsworth and Coleridge.

In chapter XVII of Biographia Literaria, Coleridge refers to Wordsworth’s prolusion to the alternate edition of the Lyrical Ditties. In this prolusion, Wordsworth made three important statements which Coleridge set up inferior. First Wordsworth asserts that the proper diction of poetry consists in the language or the real discussion of men under the influence of natural passions. So he chose humble and rustic life, Coleridge points out that this statement is amiss at all his characters aren’t chosen from low and rustic life, eg. the characters in runes like “ Ruth ”, “ Michael ”, “ The sisters ” etc. Coleridge argues that their language and sentiments don’t inescapably arise from their social standing. They spring from the general causes which will produce identical passions in every kind of life either in city or in the country. also, Coleridge maintains that Wordsworth’s proposition of lyrical Diction can be applicable to certain classes of poetry only but it can noway be a rule of general operation. In this connection, he refers to Aristotle’s generality of poetry as basically ideal, so that individual characters in poetry should be general and typical, and their passions should be typical and representative of the whole class. Wordsworth and Coleridge.

Wordsworth’s proposition of lyrical Diction.

Coleridge maintains that the language of the rustic purified from its blights and grossness won’t differ materially from the language of any other man of common sense, still, learned or meliorated he may be. He points out that the experience of the rustic is veritably limited; the data at his disposal are society; so he can not suppose logically. He’s unfit to connect with fact and express himself logically, as an educated man can. thus, the language of the rustic lacks suggestive fancies( and range) making itself unfit for poetry. Coleridge also finds fault with Wordsworth’s conviction that the stylish part of the mortal language is deduced from the objects into which the rustic daily communicate. The argues that rustic life is narrow and the rustic is actually acquitted with only a many effects of life. thus, the words and the combinations of words deduced from the veritably many objects with which the rustic are familiar, can not be considered to form the stylish part of mortal language is deduced from the reflections on the acts of the mind itself; It’s formed by the use of applicable signs and symbols for the process of mortal; imagination and reflection which the uninstructed man can not have. Whatever noble and lyrical expressions the rustic use, are deduced not from nature, but from repeated, harkening to the Bible and to the homilies. Wordsworth and Coleridge.
Giving his critical assessment of the language of prose and poetry as reflected in Wordsworth’s proposition of lyrical Diction, Coleridge objects to the nebulosity in the use of the word real. Wordsworth and Coleridge.

Wordsworth’s proposition of lyrical diction is of immense value. It’s considered to be a corrective to the artificial, pointless and unnatural phraseology. It’s current at the time. But it’s full of a number of contradictions and suffers from a number of limitations. Wordsworth doesn’t say easily what he means by language. Language is a matter of words as well of syntax. It’s also a matter of the use of imagery. Wordsworth and Coleridge. What do Wordsworth and Coleridge have to say on lyrical diction.

Wordsworth maintains that the language of poetry is selection of the real language of men. Coleridge argues that everyone’s language varies according to the extent of his knowledge, the conditioning of his faculties and the depth and swiftness of his passions. Every man’s language has its individual characteristics the common parcels of the class to which he belongs and the words and expressions of universal use. He points out that the language used in the runes of Wordsworth differs greatly from the language of a common peasant. Coleridge opines that for the word real; we should substitute the word ‘ ordinary ’. He also objects to Wordsworth’s addition of the words “ in a state of excitement ”, for emotional excitement may affect in a more concentrated expression, but it can not produce a noble and richer vocabulary. also, a common uncultivated mind, overpowered by a strong passion can utter broken words or repeat the sets of words and expressions known to him formerly. It would be veritably delicate for a minstrel to make similar language fit for poetry. Wordsworth and Coleridge.
Coleridge also disagrees with Wordsworth regarding the statement that there neither is nor can be any essential difference between the language of prose and rhythmic composition ”. Coleridge asserts that there’s and there ought to be an essential difference between the languages of prose argues that of poetry. Coleridge argues that language of written prose obviously differs from that of common discussion, in the same way as reading differs from talking. Indeed though some words are common to prose and poetry, they’re else arranged in the two compositions, making the language of the two basically different. This difference arises from the fact that the poetry use cadence and cadence requires a different arrangement of words. Coleridge has formerly refocused out that metre isn’t a bare superficial decoration, but an essential organic part of a lyric. thus there must be an ‘ essential ’ difference between the language of prose and that of poetry. The use of cadence creates a different atmosphere in poetry and the conceits as well as analogies used by a minstrel are different in quality, but not art. There are passages which will out the one, but not the other. Wordsworth and Coleridge.

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